Submissions are invited for publication in "Writing Exile: Women, The Arts, and Technologies" edited by Wanda Balzano (email@example.com) and Silvana Carotenuto (firstname.lastname@example.org). The issue will explore 'exile' as experienced by contemporary female artists working in different media. The critical focus of this special issue is placed on the practices of creative writing, photography, video art, and on the recent web 2-0 platforms on internet.
Broad messages, complicated political positions, and blurred generational and class lines characterize and problematize the Occupy Wall Street movement. As if its connection to the Canadian magazine Adbusters were not enough, this "U.S." movement's clearest and most original position may be its denial of position. Beyond "We are the 99%"—a general position against greed and inequality—the "movement" remains difficult to categorize in terms of the red/blue politics of the United States. The picture becomes even more complicated at the regional level where clear, defining symbols of nationalist power and capital are absent.
ESSACHESS – Journal for Communication Studies
Communication and/of memory
Yves CHEVALIER (University of Bretagne Sud, France) and Lucian-Zeev HERSCOVICI (National Library of Israel, Hebrew University of Jerusalem, Israel)
First Call for Papers: PLAYING WITH FIRE. THE METAMORPHOSES OF SACRIFICE IN CONTEMPORARY CINEMA
A Special Issue of "ANGELAKI – The Journal of the Theoretical Humanities"
Guest Editors: Costica Bradatan (The Honors College, Texas Tech University) & Camil Ungureanu (Universitat Pompeu Fabra, Barcelona)
This special issue is scheduled for late 2013.
CALL FOR PAPERS:
"Failure is Impossible": The Past, Present, and Future of Feminism
The 19th Annual Susan B. Anthony Institute for Gender and Women's Studies Interdisciplinary Graduate Conference at the University of Rochester
March 23rd & 24th, 2012
Keynote Speaker: Nancy Cott
Director, Schlesinger Library on the History of Women in America, Jonathan Trumball Professor of American History at Harvard University
Call for Papers: PSFG/ATHE 2012 Emerging Scholars Panel
The Performance Studies Focus Group (PSFG) at the Association of Theater in Higher Education (ATHE) conference invites submissions of papers for its Emerging Scholars' Panel. The theme of the conference is Performance as/is Civic Engagement: Advocate, Collaborate, Educate, and it will take place at the Hyatt Regency Capitol Hill in Washington, D.C., August 2-5, 2012.
Tragedy and Comedy, the two classical literary forms, on the one hand continue to capture the imagination of readers and audiences across the world even today, and on the other, have generated a lot of critical debates around them. From Aristotle's classical distinction between tragedy as a higher form and comedy as an ugly, distorted, and lowly one, not to be taken seriously, to Nietzsche's notion of tragedy, and call for its rebirth, as a joyous affirmation of life against the terror and absurdity of existence and then to Milan Kundera's assertion that "the art of the novel came into the world as an echo of God's laughter," our notions of the tragic and the comic have certainly undergone a dramatic shift.
CFP: Food Panel @ PAMLA 2012
With Pens And Forks: A Frank Look At American Food Writing
Pacific Ancient and Modern Language Association - Seattle University, Seattle, Washington, October 19-21, 2012
The power of current food journalists, such as Eric Schlosser and Michael Pollan, have influenced the quest for Americans to figure out ways to write about the plate for over a century. Considering the power of the food publishing industry, many voices are starting to influence the way that Americans cook, dine, and choose their foods.
CFP - Bullying and Self-expression
Conference - Modern Language Association Convention 2013
Location - Boston, Massachusetts U.S.A.
Dates - January 3rd to 6th 2013
Abstracts due - March 5th 2012
Call for Papers: Special Issue, The Comparatist
General Editor: Zahi Zalloua (Whitman College)
We welcome contributions that examine the representation and staging of antagonism in comparative studies and literary theory. How might one conceive of antagonism today? Why are certain forms of antagonism readily made visible while others remain hidden--or simply disavowed? How does the field of literary studies manage its own antagonism(s)? Is antagonism--antagonistic rivalry between critics--a hindrance to the faithful work of interpretation? Or is it better understood as, or in terms of, the field's engine of change? Topics of interest could include: